Audio-Animatronics (Animatronics, AA) is the registered trademark for a form of roboticsanimation created by Walt Disney Imagineering for shows and attractions at Disney theme parks, and subsequently expanded on and used by other companies. The robots move and make noise (generally a recorded speech or song), but are fixed to whatever supports them. They can sit and stand but cannot walk. An Audio-Animatron is different from an android-type robot in that it uses prerecorded movements and sounds, rather than responding to external stimuli. In 2009, Disney created an interactive version of the technology called Autonomatronics.

"Animatronics" has become a generic name for similar robots created by firms other than Disney.

Audio-Animatronics were originally a creation of Walt Disney employee Lee Adams, who worked as an electrician at the Burbank studio and was one of Disney's original Imagineers. One of the first Disney Audio-Animatrons was a toy bird Walt Disney got in New Orleans. It was a simple mechanical bird, and Walt decided to improve the device that moved it. Another was a "dancing man", created by Roger Broggie and Wathel Rogers.[1]

The term "Audio-Animatronics" was first used commercially by Disney in 1961, was filed as a trademark in 1964, and was registered in 1967.

Perhaps the most impressive of the early Audio-Animatronics efforts was The Enchanted Tiki Room, which opened in 1963 at Disneyland. It was (and still is) a room full of tropical creatures with eye and facial actions synchronized to a musical score entirely by electromechanical means. The "cast" of the musical revue uses tones recorded on tape to vibrate a metal reed that closes a circuit to trigger a relay, which sends a pulse of electricity to a mechanism that causes a pneumatic valve to move part of the figure.

The movements of the attraction's birds, flowers, and tiki idols are triggered by sound. Figures' movements have a neutral "natural resting position" that the limb or part returns to when there is no electric pulse present. Other than this, the animation is a digital system, with only on/off moves, such as an open or closed eye.

Pneumatic actuators were not powerful enough to move heavier objects like simulated limbs, so hydraulics were used for large figures. On/off type movement would cause an arm to be lifted (for example) either up over an animatron's head or down next to its body, but with no halting or change of speed in between. To create more realistic movement in large figures, an analog system was used. This gave the figures' body parts a full range of fluid motion, rather than only two positions. The digital system was used with small pneumatic moving limbs (eyelids, beaks, fingers), and the analog system was used for large hydraulic human or animal moving limbs (arms, heads).

To permit a high degree of freedom, the control cylinders resemble typical miniature pneumatic or hydraulic cylinders, but mount the back of the cylinder on a ball joint and threaded rod. This ball joint permits the cylinders to float freely inside the frame, such as when the wrist joint rotates and flexes.

Disney's technology is not infallible however; the oil-filled cylinders do occasionally drip or leak. It is sometimes necessary to do makeup touch-up work, or to strip the clothing off a figure due to leaking fluids inside. The Tiki Room remains a pneumatic theatrical set, primarily due to the leakage concerns; Disney does not want hydraulic fluids dripping down onto the audience during a show.

Because each individual cylinder requires its own control channel, the original Audio-Animatronic figures were relatively simple in design, to reduce the number of channels required. For example, the first human designs (referred to internally by Disney as series A-1) included all four fingers of the hand as one actuator. It could wave its hand but it could not grasp or point at something. With modern digital computers controlling the device, the number of channels is virtually unlimited, allowing more complex, realistic motion. The current versions (series A-100) now have individual actuators for each finger.

Compliance is a new technology that allows faster, more realistic movements without sacrificing control. In the older figures, a fast limb movement would cause the entire figure to shake in an unnatural way. The Imagineers thus had to program slower movements, sacrificing speed in order to gain control. This was frustrating for the animators, who, in many cases, wanted faster movements. Compliance improves this situation by allowing limbs to continue past the points where they are programmed to stop; they then return quickly to the "intended" position, much as real organic body parts do. The various elements also slow to a stop at their various positions, instead of using the immediate stops that caused the unwanted shaking. This absorbs shock, much like the shock absorbers on a car or the natural shock absorption in a living body.

The skin of an Audio-Animatronic is made from silicone rubber. Because the neck is so much narrower than the rest of the skull, the skull skin cover has a zipper up the back to permit easy removal. The facial appearance is painted onto the rubber, and standard cosmetic makeup is also used. Over time, the flexing causes the paint to loosen and fall off, so occasional makeup work and repainting is required.

Generally as the rubber skin flexes, the stress causes it to dry and begin to crack. Figures that do not have a high degree of motion flexibility (such as the older A-1 series Lincoln) may only need the skin to be replaced every ten years. The most recent A-100 series human AAs (such as for Barack Obama) also include flexion actuators that move the cheeks and eyebrows to permit more realistic expressions, but the skin wears out more quickly and needs replacement at least every five years.

The wig on each human AA is made from natural human hair for the highest degree of realism, but using real hair creates its own problems, since the changing humidity and constant rapid motions of the moving AA carriage hardware throughout the day cause the hair to slowly lose its styling, requiring touch-ups before each day's showing.

Autonomatronics is a registered trademark for a more advanced Audio-Animatronic technology, also created by Walt Disney Imagineers.

The original Audio-Animatrons used hydraulics to operate robotic figures to present a pre-programmed show. This more sophisticated technology can include cameras and other sensors feeding signals to a high-speed computer which processes the information and makes choices about what to say and do. Disney created "Otto", the first interactive figure that can hear, see and sense actions in the room.[2] Otto can hold conversations and react to the audience.[3]

The Roz figure is able to "interact" with guests with help from an unseen ride operator who chooses pre-recorded messages for Roz to "speak", thereby seeming to "react" to individual guests' unique appearances and clothing. Mr. Potato Head outside of the Toy Story Mania! attractions at the Disney California Adventure and Disney's Hollywood Studios parks does the same as Roz does. One of the newest figures comes with changes to the classic Pirates of the Caribbean attraction at Disneyland and the Magic Kingdom, both now featuring characters from the Pirates of the Caribbean film series.

The Jack Sparrow figure is based on the actor that portrays him, Johnny Depp, even featuring his voice and facial mold. So far, the newest and most advanced Audio-Animatronic figure is Abraham Lincoln at The Disneyland Story: Featuring Great Moments With Mr. Lincoln at Disneyland. Lincoln can move his lips to form words, can make very dramatic movements, and can portray emotions to match the words he's saying.

Several passengers and the crew of a Pioneer Zephyr are represented in a display of this historic train at Chicago'sMuseum of Science and Industry. Neatly dressed in the proper style of first class passengers of their era, one remarks upon the casual dress of the visitors.

John Wardley is often said to have brought animatronics to the United Kingdom, utilizing a concept called Ramped Movement, which allowed for smoother movements of the figures. John appeared on Tomorrow's World in the 1970s showing a guitar playing animatronic programmed to music. His first project was the creation of the animated show "50 Glorious Years" for Tussaud's "Royalty and Empire Exhibition" at Windsor.

The Pennsylvania Lottery uses an animatronic groundhog named Gus (who refers to himself as the "second-most-famous groundhog in Pennsylvania", after Punxsutawney Phil) as the mascot for television commercials for their instant scratch-off games.[7]

The Disney film Tomorrowland uses the Audio-Animatronics word as a term for their sophisticated android characters.